SFJazz Collective @ The Egg, 3/4/12

by Michael Eck
The title of the program, “The Music of Stevie Wonder,” certainly attracted some patrons to The Egg Sunday night. But if you came to see the SFJazz Collective expecting easy-to-follow hits by the master songwriter, you were in the wrong place.
Only two selections came from Wonder’s hit list, and one of them — the almost obvious “Sir Duke” — was deconstructed to the point that trumpeter Avishai Cohen was pleased to introduce it beforehand because, as he suggested, you might not recognize it otherwise.
Still, even Wonder’s most obscure music is tuneful, sophisticated and sharp. The same could be said of SFJazz’s performance — sometimes.
The opening salvo of “My Cherie Amour” and “Visions,” though, was closer to a mess. Both had scintillating highlights but they were hard to identify amidst the clutter.
The collective truly is a superstar band, and they handle the load by dividing arrangements and selections amongst each other.
Pianist Edward Simon, for example, did the charts for “Cherie” and Albany native Stefon Harris (whose original “Life Signs” was one of the stone highlights of the evening) put “Visions” together.
But drummer Eric Harland seemed determined to fill each tune to the brim with clatter, click and boom. Simon clustered his chords in tight shapes and bassist Matt Penman thrummed in every hole they left open. Even the horns seemed creaky, as though they were playing on a ship — and the horn lines in Harris’ adventurous arrangement seemed out of tune rather than avant garde.
Thankfully, the night took a different turn and by a third of the way through the long set the band was finally swinging, and leaving a little room, too.
In fact, Harland’s tune “Eminence,” which pared the band down to the rhythm section and tenor saxophonist Mark Turner was open, ethereal and satisfying.
Each year SCF Jazz selects an artist to honor, but also asks its members to contribute new work. As noted, Harris’ “Life Signs” was a wonder, and Robin Eubanks’ “Metronome” finally opened up Simon’s cramped voicings.
The latter was like a breath of fresh air, despite Penman’s continually muddy, unfocused playing. Eubanks solo was top notch, although he had to once again compete with Harland, who occasionally divides time like it was a sport rather than an art.
Other Wonder selections included Penman’s arrangement of “Creepin’” and Turner’s take on “Blame It On The Sun,” which served as an encore for the packed, appreciative house.
Cohen, who took “Visions” briefly into outer space with effects and loops, led the way on “Sir Duke” and again gave it his peculiar, thrilling stamp, with Harris etching the melody on his vibes for those who needed an entry point.
Cohen’s chart (which left room for a fine alto solo from Antonio Hart) leaned towards the density of Charles Mingus, but the harmonies also recalled the Miles Davis classic “Freddy Freeloader,” albeit in a much more muscular way.
Wonder would be pleased to hear what the SFJazz Collective has done with his work. Ultimately, despite a frustrating start, the band’s Albany concert was a lively night of jazz.

SFJAZZ COLLECTIVE: THE MUSIC OF STEVIE WONDER
When: 7:30 p.m. Sunday
Where: The Egg, Empire State Plaza, Albany
Length: Almost two hours; no intermission
Highlights: Albany native Stefon Harris’ wonderful “Life Signs” and Avishai Cohen’s arrangement of “Sir Duke.”
The crowd: A virtually packed house, happy to see a hometown hero and his jazz pals.
Upcoming: The Rising Stars Concert brings current country to The Egg on Tuesday.

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Michael Eck

One Response

Mike or anybody, found an original 5 album book/sleeves of RCA Victor vinal of Leonard Sillman’s New Faces of 1952 in good condition. Does anybody know anything about these of if they’re worth anything?